Ricercar Consort and Philippe Pierlot - J.S. Bach: Tombeau de Sa Majesté la Reine de Pologne (2008)

Tracklist

01. Kyrie
02. Christe
03. Kyrie
04. Gloria
05. Domine Deus
06. Qui Tollis
07. Quoniam
08. Cum Sancto Spirito
09. Praeludium In Organo Pleno, Pedal, BWV 544
10. Chorus: Lass, Fürstin, Lass Noch Einen Strahl
11. Recit: Dein Sachsen, Dein Bestürztes Meissen
12. Aria: Verstummt, Verstummt, Ihr Holden Saiten!
13. Recit: Der Glocken Bebendes Getön
14. Aria: Wie Starb Die Heldin So Vergnügt!
15. Recit: Ihr Leben Liess Die Kunst Zu Sterben
16. Chorus: An Dir, Du Fürbild Grosser Frauen
17. Herzlich Tut Mich Verlangen À 2 Claviers Et Pédale, BWV 727
18. Aria: Der Ewigkeit Saphirnes Haus
19. Recit: Was Wunder Ist's ? Du Bist Es Wert
20. Chorus Ultimus Post 2am Partem: Doch Köningin Du Stirbest Nicht!
21. Fuga In Organo Pleno, Pedal, BWV 544

Rather gentler than the reconstruction culture of recent years, the Ricercar Consort ask the listener to contemplate the mourning for the Queen of Poland, Princess Christiane Eberhardine – in 1727, through a 'funerary monument' conceived around Bach's Trauer or Funeral Ode, the Mass in A major and contemporaneous organ pieces. We have no evidence that the Mass or the instrumental music appeared in the 'catalfalque in sound' (to quote Gilles Cantagrel), the memorial ceremony which occurred a month after the Queen's death and for which Bach was commissioned to write his exquisite Ode, but that is of little matter.
Whatever one's view on single-voiced Bach, the performances here are among the most persuasive in this medium. Philippe Pierlot understands the music from the thorough bass up – which one imagines should be common enough; yet so often a properly directed bass in Bach is traded for contrapuntal panache and facile rhythmic gesture. The Mass may lack a certain dramatic presence in the stunningly original exchanges in the Gloria, reconstituted from Cantata No 67 with its memorable Vox Christi 'scena' of Jesus's blessing bestowed on mankind.
However, the vitality, interest and warmth of the opening, as in all the choruses on the disc, are determined above all by textural definition and characterful instrumental playing, the flutes beautifully appointed throughout.
The Ode is a remarkable example of a Bachian synergy between a carefully selected palette of light pastels (lutes, gambas, recorders, oboes d'amores and strings) and a melodic flavour and nostalgic intensity drawn from a Passioninspired language, ideally crafted around the Enlightenment poetry of the young Leipzig humanist, Johann Christoph Gottshed. Its unique atmosphere is captured here, though as so often in single-voiced readings, the solo voices don't always have as much to say out of the collective realm. Francis Jacob's organ playing is both searchingly fluid and articulated.
With the odd misgiving, this is a compelling and instinctive new Bach recording.

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